Arts watch. Theater review.

New Twists Add To Challenges In `Jesus Christ Superstar'

March 24, 1999|By Chris Jones. Special to the Tribune.

With a revolving set, a design concept that turns Jerusalem into a fascist police state and lots of flesh-enhanced choreography, the Drury Lane Oakbrook has certainly not churned out a formulaic or conventional revival of "Jesus Christ Superstar." For a generally conservative theater that sometimes rents sets and makes easy choices, this is a laudably ambitious show with a brave and strong directorial vision.

These days, "Jesus Christ Superstar" hardly qualifies as a contemporary musical (it's been around for 28 years). This is a very tough piece to do today with complete seriousness, even though many of the Andrew Lloyd Webber melodies are among this composer's sweetest and most haunting creations.

With boots, short skirts and frills a-plenty, Ray Frewen's highly conceptual but sometimes uneven production seems to mainly reside in the original period of the show (there are visual references to the Black Panthers and a concluding image of a peace sign). But it also seems to want to step into the post-modern present--there's an obsession with electronic devices and a set that seems indebted to "Miss Saigon." It's hard to have it all ways.

This also remains a show with considerable vocal challenges (especially now that Deep Purple-style screeching is frowned upon by voice teachers). Unfortunately, the handsome and sweet-voiced Sean Allan Krill so lacks definition as Jesus that when he breaks into the temple to kick out the money-changers, you wonder why anyone is bothering to listen. Despite the mellow focus of the material, this semi-somnolent Jesus desperately needs to liven up if this show is not have a big hole in its epicenter. Sean Blake's Judas, meanwhile, needs to find more emotional depth if we are expected to care about his suicide.

On happier notes, there's a Broadway-quality performance from Heidi Kettenring, who brings vital freshness to "I Don't Know How To Love Him," along with everything else she does here.

There's also exceptionally strong supporting work from Tom Hennings as a rock-solid Peter; Brad Hoffman as a nasty Caiaphas; and Kenneth Paul as a Pilate of laudable complexity. There's a very cheery and sensual young ensemble who warble their way through the evening with great enthusiasm.

This "Superstar" lacks stylistic consistency and a few touches of human simplicity--but then this bold and brassy biblical affair has never been a vehicle for theological or theatrical subtlety.